Art History Midterm

How did Cézanne achieve the illusion of depth and volume in his paintings?

By using traditional perspective and chiaroscuro techniques By focusing solely on capturing changing atmospheric conditions By applying small patches of juxtaposed colors, with some advancing and some receding By depicting objects primarily in one hue and modulating intensity C

Who were the most important innovators and formalizers of the method of linear perspective?

Paul Cezanne and Andrei Rublev Michelangelo and Donatello Filippo Brunelleschi and Leon Battista Alberti Pablo Picasso and Filippo Brunelleschi C

What action does the Libyan Sibyl take in the described scene?

She sits motionless on her throne, absorbed in reading her book. She gestures towards her attendant putti, directing them to leave. She stands up from her throne, closes the book, and walks towards the altar. She closes her book and places it back on its desk while looking at the altar, ready to step down from her throne. C

Which best describes the transformation in the conception of space that enables the 'symbolic form' of linear perspective?

The transformation from a finite view of the cosmos to an infinite view of the cosmos The transformation from an infinite view of the cosmos to a finite view of the cosmos The transformation from an interior sense of space to an exterior sense of space The transformation from a polytheistic worldview to a monotheistic worldview A

What is the central theme of Rubens' triptych?

Triumph of the Cross The Passion of Christ Sin and Redemption The significance of the Elevation in the Eucharistic doctrine D

What are the divine attributes depicted in the Prima Porta statue of Augustus?

a. 1. Holding a sword in the left hand; 2. Military clothing reflecting ongoing warfare; 3. Classical-style facial features. b. 1. Holding a sword in the left hand; 2. Military clothing reflecting ongoing warfare; 3. Classical-style facial features. c. 1. Barefoot; 2. Drapery wrapped around the waist; 3. Cupid at his feet. d. 1. Clad in military attire with a cuirass adorned with historical scenes; 2. Depicted in a battle pose; 3. Receding hair. C

Determine the architectural element associated with the following numerical pairs:

a. 1. Pronao - 2. Hypostyle 3. Barrel Vault b. 1. Triglyph - 2. Metope 3. Groin Vault c. 1. Abacus - 2. Entablature 3. Arch d. 1.Frize - 2. Intermediate block 3. Domed rotunda D

What does the term "waiting room" refer to in the context of Sumerian temples, including the cella dedicated to Anu?

a. A place for administrative tasks b. A place for priests to wait for the gods c. A place for social gatherings d. A place for storage B

What defines the "second space conception" in architecture?

a. Acoustic space b. Interior space c. Plane surface d. Volumes in space B

What does the term "cella" refer to in the context of the White Temple at Uruk?

a. Administrative office b. divinity's room c. terrace d. Storage room A

How was the soul primarily viewed both by the Ancient Egyptians and the Archaic (pre-classical) Greeks?

a. As the fixed principle of a person's individuality b. As a wandering spiritual principle that was not tethered to or representative of the individual person c. As the inner organization of the living body d. As a principle that was geometrically defined through the perspective view of form B

What is the difference between the aspective and perspective representation of form?

a. Aspective represents form naturalistically, whereas perspective represents form symbolically. b. Aspective regards form as the additive sum of its parts, whereas perspective regards form as an organic whole in a unified space c. Aspective pertains to visual representation, whereas perspective incorporates all the senses d. Aspective represents a particular aspect of something, whereas perspective represents the entirety of something B

Why was Caravaggio's painting of Mary Magdalene considered a scandal by some scholars of his time?

a. Because he emphasized her sensuality b. Because he portrayed her in a private moment of penitence c. Because they did not understand the painting's subject matter d. Because he depicted her with jewelry and perfume C

What did Vincent van Gogh use as a means to achieve his own personal rendition of truth in his paintings, as seen in Boulevard de Clichy 99?

a. Blending colors to create realistic shades b. Juxtaposing detached elements to render reality scientifically c. Adopting a minimalist approach with only a few strokes d. Arranging adjacent dashes to express emotional tension D

Which of the following are perceptual effects resulting from the visual form of early literacy:

a. Both a and c b. Linear and hierarchical organization c. Sense of a human rational self d. Simultaneous perception A

How did the painters of Caravaggio's time portray Mary Magdalene in their artworks?

a. By emphasizing her sensuality and penitence b. As a symbol of vanity and futility c. As a saintly figure without any reference to her past d. As a political figure during the Counter-Reformation C

In what way did Impressionist paintings reflect the evolving understanding of selfhood in the modern age?

a. By emphasizing the stability and permanence of human identity b. By portraying individuals with clearly defined identities and roles c. By suggesting a sense of disorientation and ambiguity in personal identity d. By depicting historical figures and events to convey a sense of collective identity C

How did Impressionist painters capture the essence of the urban experience in their works?

a. By focusing on allegorical representations of urban chaos b. By avoiding depictions of city life altogether c. By portraying bustling streets, cafes, and anonymous city dwellers d. By depicting serene workers C

Caravaggio deviated from earlier representations of Madonna of Loreto or Pilgrim's Madonna in his rendition by portraying which details?

a. Caravaggio places the house of the Virgin on a very recognizable street of Rome b. Caravaggio focused on physicality by representing Jesus as a grown toddler; the Virgin barefooted is grabbing Jesus and lifting her knee in order to support his weight c. Caravaggio depicts the pilgrims barefooted and dirty. d. All the above D

Triglyphs and metopes were elements of Greek temples of which type?

a. Circular b. Corinthian c. Ionic d. Doric D

What is the name of the outlined composition?

a. Conceptual b. Symmetry c. Contrapposto d. Proportion C

What were the perceptual effects of the phonetic alphabet experienced in Classical Greece?

a. Concern with concrete reality and experience of all the senses at once b. Enhancement of acoustic space and immersion in the cosmos c. Hierarchical organization of society and tribalism d. Abstract thought, enhancement of the visual sense, and individuality D

How did Seurat's technique of Pointillism affect the perception of his paintings?

a. Created an artificial and flat quality b. Enhanced realism and depth c. Added complexity and dimensionality d. Emphasized brush strokes and texture A

Which of the following is not a common description of the Greek art revolution?

a. Development of a unified space for the represented figures b. Shift from schematic to naturalistic representation c. New feeling of life inhabiting the forms d. Innovation of aspective form D

n the context of Greek art, which possible factors, discussed in class, might have triggered the Greek Revolution?

a. Disregard for the beauty of the human form. b. Celebration of chaos and disorder. c. Appreciation for balance and naturalism. d. The systematic search for a unitary principle encompassing every aspect of reality: government, society, military, philosophy, and art. D

Identify the painting from the detail below

a. Edouard Manet, A Bar at the Folies-Bergère, b. Claude Monet, Impression: Sunrise c. Claude Monet, Saint-Lazare Train Station, d. Camille Pissarro Boulevard Montmartre C

The Fayum portraits were:

a. Egyptian funerary portraits which portrayed the spiritual principle of the Ka b. Syrian funerary portraits which merged eastern and western formal styles c. Egyptian funerary portraits which foreshadowed the Christian icon d. Portraits of middle-class Roman Christians, depicting the decline of the empire C

What influence is apparent in the lifelike verism of Roman Republican portraits?

a. Egyptian pharaonic portraiture b. Etruscan funereal sculpture c. Hellenistic portraiture tradition d. Roman household imagines D

Which of Giotto's innovations represents a departure from the Italo-Byzantine style?

a. Elaborately painted draperies b. Gilded backgrounds c. Symmetrically arranged figures d. Figures seen from the back D

Experiments with electricity influenced the imagination behind romantic art because:

a. Electricity was seen as a potential way to send messages at a distance b. Electrical experiments appeared to embody revolutionary energy and ideals c. Electricity was seen as an animating life-force that could be tapped into by humanity d. Both b and c D

According to Rubens's explanation of "Consequences of War," who is the figure circled below?

a. Europe, suffering from plunder, outrage, and misery b. A mother with her child symbolizing fecundity and charity c. The Fury Alekto d. Venus A

The following figure was one of the most influential defenders of Christian icons

a. Gregory of Nyssa b. St. Augustine c. St. Thomas Aquinas d. John of Damascus D

What role did Baron Haussmann play in shaping the city of Paris and its influence on Impressionist art?

a. He introduced narrow boulevards to facilitate military movement. b. He focused on preserving medieval streets and neighborhoods. c. He encouraged the construction of department stores in residential areas. d. He raised entire neighborhoods and created wide boulevards. D

Reginaldo Scrovegni

a. He was the patron of the Arena Chaple, and Dante Alighieri values his great excellence as a banker. b. He was a banker and usurer, and Dante Alighieri placed him in the Inferno. The desire for salvation urged his son Enrico to commission the Arena Chaple. c. He was blessed with eternal salvation, and Giotto placed his portrait in the Last Judgment. d. He was a banker and usurer, and Dante Alighieri placed him in Purgatory. The desire for salvation and the commission of the Arena Chaple saved him from punishment. B

What is the dual function of Djoser's pyramid?

a. Hosting celebrations for the Jubilee Festival b. Protecting the mummified king and symbolizing his power c. Serving as a city hall d. Military defense and religious worship B

What symbolic significance does the color yellow hold in Paul Gauguin's Yellow Christ and the surrounding landscape?

a. It denotes warmth and vitality, evoking the universal presence of Christ in the world. b. It signifies decay and desolation, contrasting with the divine figure of Christ. c. It symbolizes enlightenment and spiritual awakening. d. It represents purity and innocence, reflecting the divine nature of Christ. A

The Christian Basilica

a. It is a faithful copy of the Domus Ecclesia b. Derives from Roman precedents. c. It is a total innovation of Christian Architecture d. It is a faithful copy of the ziggurat B

Caravaggio, The Beheading of Saint John the Baptist

a. It is the only painting signed by Caravaggio; his name is written in blood. He was feeling guilty for having killed a man. b. It is the only painting signed by Caravaggio; his name is written in the blood of St. John the Baptist. This blood prefigures the blood of Christ that saves humanity. c. This painting is the only painting not signed by Caravaggio. d. It is the only painting signed by Caravaggio; his name is written in the blood of St. Peter. This blood prefigures the blood of Christ. B

The following image represents the paradoxical nature of Christian dogma because:

a. It portrays what is circumscribable and uncircumscribable through indicating how the humanity of Christ allow us to participate in the unity of the divine trinity b. It portrays what is circumscribable and uncircumscribable through indicating how the divinity of Christ cannot be approached through images c. It is an example of apophatic theology indicated by Christ holding the gospels, which symbolizes the divine word as opposed to the image d. It is an example of cataphatic theology through reminding viewers of Jesus' death on the cross A

What is the significance of the empty space in Caravaggio's The Beheading of Saint John the Baptist painting?

a. It signifies the emptiness of the church. b. It emphasizes the drama of the event that is happening. c. It highlights the skill of the artist in using negative space. d. It is an error B

What was one of Paul Cézanne's primary criticisms of Impressionism?

a. Its reliance on traditional perspective techniques b. Its lack of attention to everyday life subjects c. Its disregard for color theory and optical analysis d. Its failure to capture lasting form and structure D

Identify the Plan and the parts of this building:

a. Longitudinal Plan: ; #1 ambulatory; # 2 Narthex; # 3 Dome b. Central Plan; #1 ambulatory; # 2 Narthex; # 3 Dome c. Longitudinal Plan: #1 nave; # 2 Narthex; # 3 Dome d. Central Plan; #1 nave; # 2 Narthex; # 3 Dome B

Which artist sought to reconcile the illusion of a weighty, three-dimensional body with the illusion of the space that contained it?

a. Martini b. Cavallini c. Pisano d. Giotto D

Which new Byzantine stylistic feature appeared in the mosaics at San Vitale?

a. Naturalistic action b. An elaborate setting of sold bodies c. Variety of gestures d. Dematerialization of solid bodies D

Question: Which scientist formulated the law of simultaneous contrasts of colors, influencing artists like Georges Seurat?

a. Ogden Rood b. Ernst Mach c. Charles Henry d. Michel-Eugène Chevreul D

Which of the following is NOT typical of Michelangelo's approach to the nude in the statue below?

a. Passionate and ideal Beauty b. Classical ideals c. Contrapposto, balanced body, focused gaze d. Cross-eyed, unsure contrapposto, the muscles are soft and undefined D

Identify the author and the meaning of this detail.

a. Paul Gaugin, this detail wants to respond to the question "Where Are We Going" b. Paul Gaugin, this detail wants to respond to the question "Where do we come from." c. Paul Gaugin, this detail wants to respond to the question "What are we" d. Georges Seurat, this detail wants to respond to the question "Why are we here" B

Which architectural component supports the dome of the Hagia Sophia?

a. Pendentives b. Barrel vaults c. Squinches d. Iron beams A

How did the Roman empire develop the symbolic form of "visual space" through its architecture and urban planning:

a. Peristyle construction b. Axial organization c. The prominence of sculptures in temples and the city d. Group design B

In contrast to Greek temples, what was the usual architectural scheme of Roman temples?

a. Pseudoperipteral b. Wood building material c. Built into hillside d. Stylobate foundation A

Identify the painting and the main ideas suggested by the painter through his portrayal of the hands.

a. Rembrandt, The Anatomy Lesson of Dr. Tulp The hand of the painter symbolizes the artistic exploration of mortality and the human condition. b. Rembrandt, The Anatomy Lesson of Dr. Tulp. The movement of the fingers showcases the human potential for action and agency in shaping one's destiny. c. Rubens, The Anatomy Lesson of Dr. Tulp. The hands of the criminal and the surgeon represent the balance between good and evil in human actions. d. Rembrandt, Anatomy. The hands serve as a metaphor for the intellectual capacity of humanity to understand and control its fate. B

What Italian city is the location of the Arena Chapel?

a. Siena b. Florence c. Padua d. Rome C

Which of the following can be considered Caravaggio's original interpretation in The Madonna of the Grooms?

a. St. Ann helps the Virgin to Crash the head of the snake b. The Virgin crushing the head of the snake with her foot c. Jesus crushes the head of the snake, but his foot needs the foot of the mother, the foot of humanity. d. St. John the Baptist crashed the head of the snake C

Identify the name and the parts of this building:

a. St. Costanza; # 1 pronaos; # 2 naves, # 4 Apse; # 3 Transept; # 5 Nartex b. Old St. Peter; # 1 Nave; # 2 Aisles, # 4 Apse; # 3 Transept; # 5 Nartex c. Old St. Peter; # 1 Nave; # 2 Aisles, # 4 tribunal; # 3 Transept; # 5 Nartex d. Old St. Peter; # 1 Nave; # 2 Pendentives, # 4 Apse; # 3 Transept; # 5 Nartex B

Which of the following is not a formal element of Egyptian art and architecture:

a. Supremacy of the vertical b. Linear perspective c. Volumes in space d. The plane surface B

Which of the following does not represent how the Greeks retained the first space conception of the Egyptians?

a. Temples were not intended to be occupied by the public b. The architectural enclosure of the arch within the rectangle c. Buildings were arranged in a free harmonic interplay d. Temples emphasized the undifferentiated union between human spirituality and the astronomical and/or natural world B

What is the latest interpretation, discussed in class, that has been proposed for the subject of the painting?

a. The Annunciation b. The Holy family c. The Holy Trinity d. The Conception of Jesus D

Identify the two episodes and their position in the cycle

a. The Expulsion of Joachim from the temple in the First Register b. Pact of Judas and Visitation of Mary to Elizabeth in the Chancel Arch. c. Hope and Despair in the Bottom Register d. Pact of Judas and Visitation of Mary to Elizabeth in the First Register. B

What is the difference between the Florentine and Veneto and Lombardy schools of painting in Italy?

a. The Florentine school focuses on drawing, while the Veneto and Lombardy school focuses on light and color. b. The Florentine school focuses on light and color, while the Veneto and Lombardy school focuses on drawing. c. Both schools focus on drawing. d. Both schools focus on light and color. A

What statement best reflects the significance of this llustration

a. The ambiguity of the arabesque shape on the right side (it can be read as flames, vegetation, waves of fluid, or decorative abstraction) signifies the non-rational experience of the senses conveyed by William Blake b. The ambiguity of the arabesque shape on the right side (it can be read as flames, vegetation, waves of fluid, or decorative abstraction) signifies the non-rational experience of the senses conveyed by Andrea Pozzo c. It demonstrates William Blake's innovation of the technique of colored engraving d. It demonstrates Athanasius Kircher's use of the Spiritual Exercises in order to make biblical events more impressionable on the senses A

This painting reflects:

a. The baroque extension of the technique of renaissance perspective into architecture b. The baroque development of architectural form as the 'manifestatio' or clarification of its component parts c. The baroque Jesuits' interest in theatrical illusion as developed by experiments with the magic lantern d. Both a and c D

How does Caravaggio represent the Church in the Calling of Matthew?

a. The body of Christ is represented by Jesus. b. The body of Christ is not represented. c. Christ is visible and present through the body of Peter; it is not a perfect superimposition. The face and gesture of Christ are still discernible d. The body of Christ is represented by Peter. C

What was a major social factor in the destabilization of human perception, and thus the self, in the 19th century?

a. The constant revolution of the means of perception through new communication technologies b. The birth of a consumer society based around spectacle and the constant redirection of attention and interest c. The return to pre-industrial aesthetics through the 'arts and crafts' movement d. Both a and b D

Michelangelo deviated from earlier representations of David in his rendition by portraying which part of the episode?

a. The defeat of Goliath b. The moment of victory c. The encounter before the battle d. David watching Goliath die C

What do the different representations of space in these two paintings signify, as discussed in class?

a. The difference between a harmonious organization of objects and a chaotic organization of objects b. The difference between a mathematically abstracted sense of space that isolates the visual sense and an embodied sense of space that offers multiple points of view emphasizing bodily motion c. The difference between da Vinci's preoccupation with aspective representation and Paul Cezanne's concern with linear perspective d. The difference between a picture plane which emphasizes surface texture as expressive of religious values and a picture plane which emphasizes surface texture as expressive of secular values B

What "conflict of modern perception" does the following painting primarily exhibit?

a. The difference between a symbolic and realist view of the world. b. An excessive holding together of perception to maintain a coherent sense of the world combined with a dissociated state of reverie and mental flux c. The aristocratic class' urbanization and subsequent merging with the mercantile class d. The conflict between classicism and romanticism B

What most accurately reflects Giedion's notion of "space conception"

a. The drafting of geometric models for architectural construction b. An instinctive relation between humanity and human-made space that symbolically conveys humanity's psychological and spiritual attitude to the world c. The relation between emptiness and density in the construction of volumes d. The trajectory through which one navigates a particular architectural space B

How does the following detail from Manet's In the Conservatory communicate ideas and attitudes of the time regarding the representational character of the human face?

a. The face conveys the ability to directly represent the passions of the soul b. The face represents the way perception is driven by a priori mental structures c. The facial expression conveys the suppression of biological drives through a socialization process of self-mastery d. The face is represented as directly related to human interpersonal contact C

Which aspect of the father's portrayal in Rembrandt's "Parable of the Prodigal Son" is highlighted?

a. The father's hands are depicted differently, with one masculine and one feminine, symbolizing the duality of his parental role as both nurturing and protective b. His closed hands, contrasting with the open arms of God, symbolize a different emotional state. c. His worn-out feet emphasize his journey and search for something he ultimately finds in the embrace of his father. d. One of his hands is masculine while the other is feminine, representing the dual nature of God as both father and mother. D

What does the gesture of Christ's hand in the Vocation of Matthew represent?

a. The gesture of pointing towards Levi. b. The gesture of the event of a new creation. c. The gesture of the crucifixion. d. The gesture of praying. B

The Sistine ceiling represents which of the following themes?

a. The history of the papacy b. The events of the Old Testament c. The history of Christian Rome d. The salvation of humanity D

What is depicted as welcoming Marie de' Medici in Rubens' "Arrival of Marie de' Medici at Marseilles"?

a. The imperious commander of the vessel b. The allegorical personification of France c. Neptune and the Nereids d. The sea and sky B

What does this image indicate in terms of the presentational symbolism of Egyptian architecture?

a. The imprisonment of the soul in the body b. The fragmentation of the human body into parts c. The grounding of Egyptian architecture on the proportions of the human form d. The portrayal of the Egyptian scribal caste C

What do these two sculptures suggest about the Ancient Greek representation of "lifelikeness," as discussed in class?

a. The influence of Greek naturalism on modern sculpture b. The Greeks' association of lifelikeness with pagan deities c. The Greeks' attempt to represent lifelikeness as an inner spiritual quality of the body rather than the mere realistic appearance of a body d. The Greeks' use of stone to depict lifelikeness C

According to Charles Seymour (discussed in class) MICHELANGELO, The Sistine Chapel Ceiling, what is Michelangelo's inspiration for the powerful force of creative energy of God in the nine central scenes of the Sistine Chapel?

a. The medieval hymn the Veni Creator Spiritus b. Giorgio Vasari, The Lives c. Only the Oration on the Dignity of Man d. Dante, Divine Comedy A

What distinguishes Moulin de la Galette from traditional academic paintings exhibited at the official salon?

a. The perfect composition guiding the viewer's attention to a single focal point b. The absence of human figures and focus on still life compositions c. The loose brushwork and dappled sunlight capturing fleeting moments d. The emphasis on heroic and mythological subject matter C

What does the myth of Cadmus and the sowing of dragon's teeth represent most specifically:

a. The potential of the phonetic alphabet to lead to bureaucratic military control b. The power of the phonetic alphabet to enhance the objective examination of nature c. The mental abstraction of the phonetic alphabet d. The social control of the scribal, priestly class in Egypt and Greece A

How does the following painting represent the developing 19th century dynamic of human psychology and attention?

a. The relationship between interior and exterior space is blurred b. The figures seem immersed in the external world while remaining isolated from each other c. There is a general disperal of attention among the figures rather than a primary point of awareness d. All of the above D

What is a significant model of human perception that develops in the 19th century and that provides the cultural background for the painting of Manet?

a. The renunciation of the classical model of human perception and the grounding of perceptual truth in the unreliable materiality of the body b. The recovery of the classical model of human perception, which locates perceptual truth in 'a priori' intellectual ideas c. Experiments in parapsychology and the detection of invisible psychic energies d. Aquinas' doctrine that the senses convey a kind of reason A

Which of the following can be considered a novelty from a compositional point of view?

a. The sculpture is balanced, showing a perfect contrapposto b. The sculpture is balanced between pairs of opposites c. The sculpture is unbalanced, and it needs to rely on internal support d. The sculpture is unbalanced, and the composition is wrong C

The following was an influential argument used against iconoclastic views of Christian images

a. The stylization of Byzantine Icons indicated that they should be interpreted differently from pagan images b. Christian images needed to be continuous with pagan images so God could be more accessible to potential converts c. Icons functioned like the images conveyed in scripture by appealing to one's intellectual sight in the understanding of Christian theology d. Through revealing the divinity of Christ, Christian images conveyed the sinfulness of matter C

The following is a "paradox of the modern self" that begins to manifest in the perspectival techniques of renaissance and baroque art.

a. The triumph of medieval scholasticism and the triumph of modern scientism b. The triumph of the distancing and objectifying sense of the real, and the triumph of the distance-denying human struggle for control c. The interest in the scientific method both as realistic and symbolic. d. The interest in electricity as both a civilizing influence and a passionate force of nature. B

Which of the following is the significance of the black hooded woman in the scene?

a. The woman is a widow, she shows the contrast between joy and distress. b. The woman is the prophecy of the passion of Christ. c. The woman is the personification of despair. d. The woman shows the jealousy and evil present in the world. B

The artistic images in the catacombs of Priscilla are significant because:

a. They demonstrate early Christian art's imitation of the Roman representation of deities b. They demonstrate the foreshadowing of Christian art through greater realism in portraiture c. They demonstrate early iconoclastic controversy through the representation of Christ d. They demonstrate early Christian art's transformation of Roman forms through angular lines and an other-worldly gaze D

What is the significance of the clothing of the two people entering from the right in the Vocation of Matthew?

a. They represent historical figures. b. They are dressed differently from Jesus and Peter to represent the future. c. They are dressed differently from Jesus and Peter to highlight the event of Christ as a historical event that happened at a precise time and place on the earth. d. They are dressed differently from Jesus and Peter to highlight their importance. A

How did the technology of the printing press reinforce and popularize the way linear perspective represented space?

a. Through encouraging a 'fixed point of view' of the reader b. Through encouraging linear and sequential habits of thinking c. Through providing a visually uniform or homogenized view of the world d. All of the above D

How, primarily, did the architecture of the Pantheon reconcile infinite space with self-contained space

a. Through the formal interplay of the dome and the cylinder b. Through the large empty space designed to be occupied by the public c. Through the darkness of its interior d. Through the images of Gods placed in the surrounding niches of the interior A

What is the likely interpretation of the disproportionate relationship between the inlaid oversized eyes and the tiny hands of the votive figures?

a. To convey a realistic depiction of human anatomy b. To symbolize the eternal wakefulness required for constant prayers c. To represent a lack of artistic skill d. To symbolize physical perfection B

What is the inspiration for this artistic style?

a. Tonal variations and chiaroscuro b. Cloisonné enameling c. Realistic rendering d. Impressionistic brushwork B

How does Vincent Van Gogh employ artistic techniques in his self-portrait to symbolize eternity?

a. Utilizing concentric circles of brushstrokes radiating outward from the face, echoing and multiplying the roundish shape of the head with a halo-like effect. b. Through the use of subdued color palette in the background to highlight the intensity of the subject's gaze. c. By incorporating intricate details of the surrounding landscape to evoke a sense of timelessness. d. By employing a traditional portrait style with precise brushwork to capture the essence of the moment. A

Identify the artist and the period

a. Vincent van Gogh, Early Period b. Paul Gauguin, The Arles Period c. Vincent van Gogh, Dramatic Period in the Asylum d. Vincent van Gogh, Arles Period A

What term best reveals how the multiple directions of Prehistoric cave art exemplify the symbolic orientation of the senses:

a. Visual space b. Economy of design c. Acoustic space d. The innovative composition of prehistoric artists C

The technique of painting a fresco typically involves which of the following

a. dampening the wall first and then applying a layer of damp plaster to it. On the wet plaster, a basic design of the fresco to be drawn was made. Special colors made from diluted pigments were then applied to the plaster before it could dry. A chemical reaction bound the colors solidly to the plaster once the plaster dried. b. dampening the wall first and then applying a layer of tempera. On the tempera, a basic design was made. c. dampening the wall first and then applying a layer of dry plaster to it. On the wet plaster, a basic design of the fresco to be drawn was made. Special colors made from diluted pigments were then applied to the plaster after it dried. A chemical reaction bound the colors solidly to the plaster once the plaster dried. d. dampening the wall first and then applying a layer of dry plaster to it. On the wet plaster, a basic design of the fresco to be drawn was made. Special colors made from diluted pigments were then applied to the plaster before it could dry. A chemical reaction bound the colors solidly to the plaster once the plaster dried. A

Which of the following is NOT an attribute of romantic art?

a. Emphasis on the passions and the imagination rather than reason b. Emphasis on the detached observation of reality c. Fascination with the supernatural and exotic d. Giving of supremacy to the natural and organic rather than the artificial and technical B

Determine the architectural element associated with the following numerical pairs:

a. Engaged columns - 2. Free-standing columns b. Engaging status - 2. Free-standing statues c. Shaft in Doric style - 2. Shafts in Ionic style d. Pseudo Columns - 2. Columns A